A review by: Penny Playbill

Cole Porter’s Kiss Me, Kate is no small undertaking. With its whip-quick shifts between backstage drama and Shakespearean farce ~ not to mention a score packed with Broadway standards ~ it demands a company that can deliver both style and stamina. I mean, come on, the opening of Act II is practically a marathon disguised as a dance number. And these dancers? They don’t disappoint.

Directed by Marybeth Berry, Town Theatre’s production has wit, polish, and a sense of fun, even when the show’s complexities peek through.

At the heart of the story are Jonathan Kupper and Shelby Sessler as Fred Graham and Lilli Vanessi. Kupper brings swagger and vocal heft to his Petruchio, while Sessler balances fiery defiance with vulnerable longing. Their constant push-and-pull keeps the relationship both maddening and irresistible. And Sessler’s “I Hate Men” deserves its own ovation ~ half the audience is laughing, the other half gasping, and everyone is thinking, did she really just say that?”

As Lois Lane, Karly Minacapelli Shorter radiates comic innocence, bubbling with energy. Many of Shorter’s facial expressions make you wonder, “is she really in there?” which happens to be the perfect embodiment of Lois. Stephen Fisher makes his Town Theatre debut as Bill Calhoun. He is charming and his engaging presence causes you to seek him out on the stage. We hope this is just the first of many appearances at 1012 Sumter Street.

Kayla Nagy Welch launches the night with powerhouse vocals in “Another Op’nin’, Another Show,” proving her Hattie is more than just an assistant. Rich Fisher as General Howell finds a solid stride in a new type of role (for him). He succeeds as we find ourselves rooting for the other guy, even though the other guy is kind of a jerk for most of the show. Will Dowd as Paul leads in the show’s dance highlight, “Too Darn Hot” – slightly different from his disco days as Lancelot in Town’s Spamalot. (We wish the written word could communicate the sarcasm in that last sentence!)

And let’s talk about “Too Darn Hot.” This number could buckle a weaker cast, but choreographer Joy Alexander says, “hold my beer” and doesn’t flinch. She takes a notoriously difficult piece and crafts it so the seasoned dancers shine while everyone onstage has a chance to contribute. The result? A true showstopper that just keeps going… and going. Every time you think the cast is about to collapse in exhaustion, they find one more gear.

Perhaps the funniest moments are shared by Jeff Sigley and Nathan Wright, as the gangsters. (Note: Kane Koestner is sharing the role with Sigley.) No matter who is playing, however, these guys land the evening’s broadest laughs with one-liners and their much-anticipated “Brush Up Your Shakespeare.” To deliver those lyrics with such deadpan expressions is a feat on its own. Speaking of lyrics, Katie Gatch’s music direction ensures Porter’s tricky text comes through crystal clear, no small task given the wordplay and tempo.

While the pacing of some of the older classic shows can lag and the shifts between the 1940s backstage world and the Shakespearean play can be abrupt, the cast is locked-in so the show doesn’t lose momentum for long. In fact, the set also gets a credit for being its own “character” helping to propel the show. Jeremy Hansard, Bob Bramhall and Mario Micallef have created a turntable that keeps things fluid between the two worlds. It provides an interesting visual instead of the typical blackout that is sometimes utilized. Paired with Jillian Bigony’s vibrant costumes (of two shows!), Jodie Harris’s wigs, and Gina Janvrin’s well-chosen props, the production has a polished, cohesive look that elevates the storytelling.

Town Theatre’s Kiss Me, Kate offers a vibrant, affectionate staging of a classic. It succeeds not just because of Porter’s wit and melody, but because of the collaborative effort of a company that throws itself fully into the joyous chaos of life on ~ and off ~ the stage. The show runs through September 28.

Penny Playbill has spent 42 years in local theatre. While not formally trained as a reviewer, she believes every show ~ and every cast ~ deserves a thoughtful spotlight.

Town Theatre is pleased to welcome Lee Martin and Rebecca Seezen to the Board of Governors for the Columbia Stage Society.

Lee Martin was born and raised in NYC. She graduated from Marist College with a BA in Liberal Studies with a concentration in Communication and Music. She also has a BA from St. John’s

University and studied at Indiana University’s Musical Theatre program. Lee has performed extensively in each area where she and her family have resided. Lee and her husband Chuck are the proud parents of daughter Ashley and sons, Jordan and Justin. Lee is excited to be a member of the Town Theatre Board and the Columbia community.

 

Rebecca Seezen grew up on the Town Theatre stage. A native of Columbia, Rebecca is a graduate of Wake Forest University with a BA in Communications. She has worked in radio and television and is currently the Communications Director at Saint Joseph Catholic School. She and her family are active members at Saint Joseph Church. Rebecca has extensive theatre and vocal experience and enjoys performing at Town with her whole family. She is honored to join the Board of Governors.

 

 

DESSERT IMPOSTERS ~ Saturdays, May 6 and 13
Frank Jr. pulled the wool over many an eye as he made his way across the country — picking his professions as he went. As a pilot, “pie in the sky” was Frank’s dessert of choice. While making the rounds as Dr. Conners, he needed all the “brownie” points he could get (we’re serving ours with ice cream). And, in his role to solve the world’s legal problems, Frank Jr. often enjoyed a luscious lemon “bar” or two. We hope you’ll join us for some delicious deserts. All you have to do is go out to eat — and then bring us the receipt. No deception here — your dinner receipt in exchange for dessert!

On our first two Saturday shows (May 6 and 13), we want you to go grab dinner — at a restaurant of your choice — and then bring us the receipt. In exchange for your receipt, we’ll provide dessert on the patio before the show. Dessert will be served from 7:15 to 7:45 PM.
AND… to sweeten the deal (see what we did there?), one lucky participant’s receipt will be drawn at random and your dinner will be on us! (Well, the first $50 of it, anyway!)

So, on Saturday, May 6 and/or Saturday, May 13 — go #DineAroundTown, bring us the bill and enjoy dessert on the patio! Receipts must be dated May 6 or 13 with a time stamp of 4 PM or later. Don’t worry — if you run out of time to grab dinner, we’ll still serve you dessert for $3 — or choose two for $5. Water, soft drinks, beer and wine will also be available for purchase.

Enrollment:

• Enrollment begins Monday, Dec. 5 at 12 noon. The theatre doors will not be open prior to 11:30 AM.
• Due to limited space, we strongly suggest that someone come to register the students in person. If that is not possible, fax or e-mail forms will be received, but please know it may be more difficult for these students to secure a space in the class due to the logistics of the day. Faxes and e-mails received BEFORE 12 noon will be put at the back of the line.
• No registrations will be accepted prior to 12 noon.
• To keep the process as fair as possible, we cannot allow one person to register multiple students UNLESS those students are siblings.
• If you are enrolling siblings, please submit one complete form for each student.
• To speed up the process, please have your form completed upon arrival.

 

Guest blog by Clayton King

I’m relatively new to Columbia theatre, but not new to Columbia – at least not anymore. Having called our state capitol home for almost seven years now, I’ve seen productions at pretty much every theatre in town. You might say I’m a rabid theatre goer, or more specifically, I was until I once again found my roots and got back on the stage a year ago.

As a child growing up on the Texas Gulf Coast on a little island called Galveston, I enjoyed performing. I was blessed to have grown up in a musical family and blessed with a musical prodigy for a mother. A love of music and theatre was instilled in me, literally from birth. In elementary school I was a ham; in high school, I decided I wanted to perform for a living. In college I pursued that objective. Then life took me in a different direction and I was absent from the stage for over three decades. While I made it a habit to see live theatre as often as possible, I realized the spotlight wasn’t what I missed. It was the people…

I don’t have children of my own, but having been past the 50-year mile stone for a few years, I look back and realize the role of Gomez is not my first stint at being a dad on stage. I had a couple of stints in college and one or two paid gigs where I explored the idea of fatherhood. But it is the first time I’ve understood being the head of the family-in this case, The Addams Family. What I’ve come to understand, though, is that only now do I have the years under my belt to better understand what that means.

I’ve joked about reading in the Town Theatre Newsletter, The Intermission, the write up about the show, and seeing the words “at the helm is Clayton King.” When I expressed my shock at reading those words, I received a message from the theatre apologizing if I was offended. My quick assurances were that, quite to the contrary, I was humbled. Humbled and a little bit afraid, actually. I’m the father – the head of the household and my brain generally doesn’t work that way. I think in terms of the group – the people, the show, the whole effort.

So why does any of this matter?

Well, anyone who performs in any capacity will tell you applause is gratifying. Those same performers would be lying if they said applause doesn’t matter – it does. But the applause is affirmation of a production, and productions require hard work from everyone involved – the production family.

As a business owner and active church singer, I’ve been asked during the last year how (or why) I devote so much time and energy to theatre. On the assumption my outgoing personality seeks attention, most believe it is because I seek the limelight. While that is partially correct, it doesn’t begin to cover it all.

Theatre is a collaboration of an amazing order. Yes, performers must memorize lines and learn songs, and find ways to naturally bridge the two. But there are many people who work together to make the magic of theatre happen.

There are those people in black – the crew – who make scenery appear and disappear. Generally speaking, there are far fewer of them than cast members, so their work is exponentially harder! There are musicians and musical directors who must learn the entire score and work with individual cast members and the entire company to learn and fine tune the work. Costumers are tasked with creating the very clothes we wear, and helping performers bring their characters to life. There are scenic designers who construct sets, and sometimes rebuild sets, to accommodate specific needs in the show. Lighting designers develop and enhance a production look by (literally) casting it in a certain light. And, ultimately, the director of a show leads everyone in a single direction to accomplish the goal of a successful show. This poor soul actually has to be the bridge between actors, producers, administrators, and more to bring forth a specific vision. Harmony is the best word I can think of to describe that goal.

So yes, I’m currently the father, at the helm of The Addams family. I am privileged to share the stage with some amazingly talented people. I walk on sets and under lights that compliment what I’m doing. To be honest, I’m surrounded by people who make me look good. And hopefully, I am able to respond in kind. But ultimately, for me at least, it’s the collaboration and the sense of accomplishment where my satisfaction is derived. It’s the discipline of rehearsing for months. It’s the joy of having struggled with a line or a lyric and then getting a high-five from a cast mate when you conquer the challenge.  And most of all, it’s the sense of family. Let’s be real for a moment; when you spend two or three months with a group of people, you’re family. You fight, you laugh, you hug, you cry, then, usually, you laugh again and bask in the satisfaction of knowing you all made it through to opening night.

The Addams Family has been this kind of experience for me. I am thankful my Town Theatre debut was one where I got to be the dad. And if audiences are moved to applaud, that’s all the better.

The Honky Tonk Angels Get a New Pair of Wings

Town’s current production of The Honky Tonk Angels is a step back in time — not only will you hear some of your favorite country tunes, you will also drive down the highway with two of the show’s original performers — and meet a new cast member along the way! Town last produced this show in 2002 and then again in 2005 with Kathy Hartzog, Shannon Scruggs and Lori Castille as the angel trio. Shortly after the 2005 production, Castille moved to California so the duo was in need of a new pair of wings. They found that in Alexa Cotran — a music student at the University of South Carolina.

“Alexa is a great addition to the angels,” said Hartzog. “She has just the right amount of innocence that is needed for her character, but then can turn on a dime to become a sassy country singer in Act II.” Cotran has enjoyed the small cast experience after starring in Town’s most recent production of Nice Work if You Can Get It. “Kathy and Shannon have been very welcoming. We work well together — one of us able to pick up where another person leaves off.”

Scruggs appreciates the opportunity to perform her HTA role almost 11 years later. “It is always neat to get to re-do a role. It is particularly fun to ‘hang out’ with Angela again — especially now that I have real-life experience as a housewife and what sometimes feels like a litter of kids. Though, I must say my sweet husband is nothing like this Bubba character I am married to in the show!” Hartzog best explains the characters that audiences will meet. “They are not cartoonish, but they are larger than life.” Scruggs agrees. “You might see a little bit of yourself in each one of these ladies. They have big goals coupled with understandable fears; yet they know that, with a little help, they can follow their dreams.”

The production team includes Allison McNeely as the director with Scruggs as choreographer. Music direction is by Sharon McElveen Altman with Lori Stepp as costumer and Danny Harrington designing the set and lights.

Come see the angels — on stage at Town February 19 to March 6. Tickets are available at www.towntheatre.com or by calling 803-799-2510.

 

Guest blog by Kathy Seppamaki

It is one minute until 8 o’clock. From my place in the wings I hear the stage manager call places to the cast, crew and band. From the other side of the curtain, I can hear the slight murmur of audience members who eagerly await the start of the show. I see cast members hurrying to their positions both onstage and off, laughing and talking together, excited to see which family members and friends might be sitting in the audience for this evening’s performance.  Then in a moment the lights dim, the music begins and the magic begins.

Few people understand the time that it takes to put a show together from start to finish. Hundreds of hours are spent building sets, gathering and creating costumes, learning music and lines, collecting props, learning choreography, organizing all of the show marketing, and so much more. It truly takes a village of dedicated and passionate people to bring a show to life from start to finish and so few understand the effort that is given by so many to make it all happen seamlessly.

I have had those who have asked why performers willingly give up their free nights and weekends, for months at a time to do a show. I have had those who want to know why performers seem to be magnetically drawn to do shows over and over again. And there have been those who want to know why we are willing to work ourselves to the point of exhaustion to be a part of a cast.

There are a few reasons why we do this, and will continue to feel the call to go back to the stage time and time again.

The first reason is the feeling of community that is built when you do a show with other performers. When people are thrown together in rehearsals for so many hours in such a short period of time, they tend to bond very quickly. Friendships form throughout the cast and you really do become like a family. It is not unusual to walk away from a show with friends that you will keep throughout your life. There is nothing quite like the feeling of connecting with other creative people, finding other common interests, laughing together, sharing together and creating together. Most of my own closest friends are people that I met doing different shows.

Many performers are passionate about what they do. Whether it is dancing, acting, singing or any combination of the three, that passion is so strong that they will find any chance to express it, and will perform as often as they can. When you love doing something as much as the performers I know do, you don’t even think twice about sacrificing your free time to be involved.  It is something that comes from deep within the creative soul of a performer that draws them back again and again.

As a singer and actor, I can say that one of my favorite things about doing different shows is the opportunity to create a variety of characters that are vastly different than who I am as a person. It can be both challenging and rewarding to delve into a new character, uncover who they are and experiment with different ways to capture their essence and bring that character to life. It gives me the chance to see what it feels like to be someone that is completely unlike who I am, and to do things that I might not normally do in my own life which is a whole lot of fun!

Finally, we do it for the chance to create something special….to create a little magic. There is nothing in the world like creating something that has to power to transport an audience away from their seats in the theatre to another time and place. To create something magical that has the power to make an audience laugh or cry. With each show, we weave new stories knowing that for a few hours, we give our audience a chance to forget about what it happening in their everyday lives and hopefully entertain and inspire them.

So once again soon, I will find myself in the wings at one minute before eight, listening to the buzz of the audience, the laughter of my cast mates and feeling the anticipation of getting to share something that I’ve created with amazing and creative people….all so that we can share the magic with you!

 

Guest blog by Danny Niati

It seems there is always a very clear moment during a production where I find myself  saying, “Why do I do this again?” This usually during tech week when everything is just beginning to come together in what seems to be a haphazard mess of costume changes, sound checks and light cues.

As I stand back and watch the cast scrambling around, the crew hurriedly moving sets about the stage, random noises erupting from the speakers, and the stage lights flashing on and off like a strobe light, it all seems very comical. For some, it’s very easy to get lost among the hubbub and for others frustration is a factor and it’s time to call the whole thing off. But it’s during this time that I close my eyes and recite, “I do this because I love it. I do this because I love the feeling of performing. But most of all, I do this because there is no greater feeling than getting a group of strangers together for three months and making magic happen.” It’s true that there are no people like show people. No other family ~ yes, I said family ~ can lift you up and send you soaring quite like a theatre-family. And that is the very crux of the reason I keep coming back to the stage because despite my shortcomings, misgivings and severe stage-fright, I can feel that warmth if even for a short moment and that is why I do and will keep doing this again, and again, and again, and again…

Come see Danny in Nice Work. Tickets available now!